The Festival of Luxuries

The Festival of Luxuries is a form of music used for entertainment originating in The Tress of Bewildering. The rules of the form are applied by composers to produce individual pieces of music which can be performed. The music is played on a rino, a reyine and a lena. The musical voices are joined in melody. The entire performance is extremely fast. The melody has short phrases throughout the form. It is performed without preference for a scale and in free rhythm.

• The rino always does the main melody.
• The reyine always does the main melody.
• The lena always does the main melody.
• The Festival of Luxuries has a well-defined multi-passage structure: a first theme, a lengthy exposition of the first theme, a lengthy bridge-passage, a brief second theme, an exposition of the second theme, a bridge-passage and a synthesis of previous passages.
• The first theme should be made sweetly, and it is to be moderately loud. The rino stays in the dark low register, the reyine is confined to the eerie low register and the lena covers its entire range from the strident low register to the nasal high register. This passage features only melodic tones and intervals.
• The first exposition should be fiery, and it is to be moderately loud. The rino covers its entire range from the dark low register to the fluid high register, the reyine ranges from the eerie low register to the watery middle register and the lena ranges from the low register to the middle register. This passage typically has some sparse chords.
• The first bridge-passage should feel mysterious, and it is to be loud. The rino stays in the fluid high register, the reyine is confined to the eerie low register and the lena covers its entire range from the strident low register to the nasal high register. Chords are packed close together in dense clusters in this passage.
• The second theme should be merry, and it is to become softer and softer. The rino covers its entire range from the dark low register to the fluid high register, the reyine is confined to the eerie low register and the lena ranges from the strident middle register to the nasal high register. Only one pitch is ever played at a time in this passage.
• The second exposition should feel mournful, and it is to be in whispered undertones. The rino stays in the dark low register, the reyine ranges from the eerie low register to the watery middle register and the lena ranges from the strident middle register to the nasal high register. Chords are packed close together in dense clusters in this passage.
• The second bridge-passage should be bright, and it is to start loud then be immediately soft. The rino stays in the fluid high register, the reyine ranges from the shrill high register to the wavering top register and the lena ranges from the low register to the middle register. Chords are packed close together in dense clusters in this passage.
• The synthesis should be made with a light touch, and it is to be very soft. The rino stays in the fluid high register, the reyine ranges from the eerie low register to the watery middle register and the lena stays in the nasal high register. Only one pitch is ever played at a time in this passage.

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